NATHAN THE WISE: till 23 August
Chichester
NATHAN THE WISE
by Gotthold Lessing in a new version by Edward Kemp
Minerva Theatre In rep to 23 August 2003 final performances sold out
Runs 2hr 45min One interval
Review: Timothy Ramsden 9 August
Who would have thought a little-known German classic from 1779 would be the audience hit of the Minerva season? Or that it could prove so urgently topical to 2003?
Set in Crusade-time Jerusalem, Lessing's play brings together Jew, Muslim and Christian in descending order of sympathy. It's the Christian Patriarch, a sleekly fox-minded spin-merchant in Alfred Burke's performance, sending his subordinate visibly conscience-stricken Steven Beard to seek Nathan's help plotting the assassination of Muslim leader Saladin.
Rejecting this is easy for Nathan, who's generosity itself. He's just returned from a trading trip and, as always, showers people with presents. He even charms Conrad, the Knight Templar pardoned by Saladin who went on to rescue Nathan's daughter Rachel from a fire. For him, it was just a job, but as Geoffrey Streatfield's Conrad abandons the jaggedly assertive red cross of the Templar gear he overcomes his anti-semitism and takes a shine to the young woman.
The first act ends in a remarkable meeting; Saladin's sent for Nathan, to induce him to say which is the truest religion. By a parable of three rings, Nathan avoids the trap, gaining Saladin's respect. It's like the game of chess Saladin's been playing, with careful moves on both sides. And it's superbly played by Michael Feast and Jeffery Kissoon, with a concentration and intense calm that shows both men's intelligence and political skill.
They reach this understanding despite the women in their lives. Noma Dumezweni's Sitah attempts to push Saladin towards crafty moves; Darlene Johnosn's Daya is a Christian and unwittingly reveals that Rachel is too, not Nathan's own daughter. It's this that leads to the second act's plot complexities. They make for a less pure, but still satisfying action, the danger to Nathan here overcome in a final, wordless recognition of mutual values.
The Minerva's full depth is imaginatively exploited, while Steven Pimlott's production adopts a calm approach, matched by the speaking of Edward Kemp's anti-rhetorical version, aptly, for modern audiences, replacing speechmaking with conversation. At first Michael Feast seemed about to give an over-demonstrative performance, but no it's a wise investment of initial gestures to indicate Nathan's openness and generosity, and all anchored in a sure sense of character. Playing a good person isn't easy; Feast accomplishes it splendidly.
Nathan: Michael Feast
Daya: Darlene Johnson
Rachel: Kay Curram
Al-Hafi: Jonathan Cullen
Conrad: Geoffrey Streatfield
Brother Bona Fides: Steven Beard
Sittah: Noma Dumezweni
Saladin: Jeffery Kissoon
The Patriarch: Alfred Burke
Director: Steen Pimlott
Designer: Antony McDonald
Lighting: Hugh Vanstone
Sound: Gregory Clarke
Assistanrt director: Lucy Jameson
2003-08-14 11:05:13